Reviews

Journey to the Centre of Attention.

Reuben Kaye. Adelaide Cabaret Festival. Artspace.June 23rd and 24th, 2017

I had heard the rumours, but nothing could have prepared me for the tour de force that is Reuben Kaye.

A tall, devilishly handsome man doused in glitter and rhinestones and the longest eyelashes I have ever seen, he is a cross between a drag queen and a matinee idol. As he sashayed toward the stage, microphone in hand, it became apparent that he is all about the details - this is a microphone adorned with a mane of brunette locks.

Scarred for Life

Josh Belperio. Adelaide Cabaret Fringe. Carlcew Ballroom. 22-24th June, 2017

Who would have thought that a bicycle accident would be the impetus for a one-man cabaret show? Certainly not this reviewer, but in Scarred for Life Josh Belperio allows us into his pain and suffering with humour, complemented with touches of pathos and love.

Rossum’s Universal Robots

Written by Karel Capek. Directed by Lindsay Nash. Aussie Kelpie Arts. Star Theatres, Hilton, SA. 22-25 June, 2017.

The mystery of what makes us human is one that has never lost its relevance or pertinence; hopefully, it will continue to inspire artists of all varieties to keep searching for the answers through their work. R.U.R. was first staged in 1921, but its premise – based around existential questions relating to the nature of humanity, as well as the potential disasters that technology could unleash on us - still has the power to grip and intrigue after all this time.

Wages of Fear

After Georges Arnaud, adapted by Shane Grant. Metanoia Theatre. The Mechanics Institute, Sydney Road Brunswick. June 20 – 29, 2017

Wages of Fear is the story of how greed can put individuals at insuperable risk.  Shane Grant’s stage play is inspired by the 1950 novel Le salaire de la peur by Georges Arnaud.  Apparently Henri-Georges Clouzot’s 1953 film of this novel is considered, by some, to be one of the most suspenseful films ever made.   

The Gondoliers

Libretto by W S Gilbert, music by Sir Arthur Sullivan. Rockdale Opera Company. Directed by Ralph Bott. Musical Direction by Jon Smith. Rockdale Town Hall. 24 June to 4 July, 2017

Rockdale Opera Company bills itself as the oldest opera company in Australia in continuous operation, being founded by Rockdale Municipal Council in 1948.

The current production of The Gondoliers is the 8th staging of the operetta over the past 69 years.

Courtney Act – The Girl From Oz

Adelaide Cabaret Festival 2017. Magic Mirrors Spiegeltent. June 16 – 18, 2017

Courtney Act, after entering on roller-skates singing ‘Xanadu’, announces that this show is not about The Wizard of Oz or The Boy from Oz, but about Australian Pop Music.

Based on personal experience, including living several years in the USA, Courtney Act celebrates and pays tribute to some of the great Australian ‘pop hits’ and artists that achieved international acclaim and success.

Model Citizens

By Circus Oz. Concept and artistic direction by Rob Tannion. Big Top at Birrarung Marr, Melbourne. 20 June – 16 July 2017.

Circus Oz is not always overtly political when providing the opportunity to experience some spectacular performances and enjoy some raucous fun to help forget your woes. Model Citizens is a show that contains all the traditional elements of entertainment offered by this much-loved company. However, this show is unabashed about its exasperation with a tide of politics that tries to obscure exactly the kind of difference that Circus Oz has set out to celebrate over decades.

Dahlesque

Elise McCann. Adelaide Cabaret Festival 2017. June 17 and 18, 2017

This is a marvelous tribute to Roald Dahl, and in particular his extraordinary, inventive and imaginative command of the English language – despite a rather contrary beginning when a boy.

The radiant Elise McCann takes us on a delightful journey through the life of Roald Dahl, heightened and punctuated by respective songs relative to Dahl and his work.

Revolt. She Said. Revolt Again.

By Alice Birch. Malthouse. Merlyn Theatre. 16 June – 9 July, 2017

This is vital theatre - the type that demands you think and feel at the same time. 

The first three scenes are staged in a box that is neat and contained, and used to denote several indoor settings.  There is much to laugh about in each of these incidents.  In all three we get to witness a perfectly rational and charming young woman speaking from a perspective that completely destabilizes very deep-rooted social mores around sex, marriage and work.  Words are used to describe what is generally unspoken and, in fact, largely unacknowledged. 

Effie The Virgin Bride

Adelaide Cabaret Festival. Adelaide Festival Centre and Frontier Comedy. Her Majesty’s Theatre. June 21st & 22nd, 2017

Hello; Good thanks” are three words that take a full house straight back to the 80’s. Mary Coustas has returned to the stage as alter ego Effie to get married to the man of her dreams, and we are invited to the wedding.

The audience is greeted by Effie in her boudoir on the morning of her big Greek wedding as she regales the guests (audience) with stories of her search for Mr Right.

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